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€ 2.500 - 3.500
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€ 4.248
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Information
Platinum print, printed later by Cole Weston, mounted on original passepartout
cm 20 x 25 (cm 43 x 35,6 passepartout) | 7.9 x 9.8 in. (16.9 x 14 in. passepartout)
Signed in pencil by Cole Weston with photographer's credit stamp on the passepartout verso
cm 20 x 25 (cm 43 x 35,6 passepartout) | 7.9 x 9.8 in. (16.9 x 14 in. passepartout)
Signed in pencil by Cole Weston with photographer's credit stamp on the passepartout verso
Literature
Nancy Newhall (ed.), The Daybooks of Edward Weston, Volume I. Mexico, Aperture Foundation, New York 1973, pl. 2, n.p.Ben Maddow, Edward Weston: Fifty Years, Aperture Foundation, New York, 1973, p. 90.Keith F. Davis, Edward Weston: One Hundred Photographs, The Nelson-Atkins Museum of Art, Kansas City, 1982, p. 6Amy Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, Center for Creative Photography, Tucson, 1992, fig. 82/1922
A true master of American landscape photography, Edward Weston was with Ansel Adams, Imogen Cunningham and five other photographers part of the f/64 Group, whose aim was to create images of great sharpness and precision where every detail was perfectly in focus thanks to the extreme closure of the diaphragm to which the group's name alluded. In this case, however, the use of artistic blurring is evident because Weston still shared the Pictorialist aesthetic. The result is particularly fine due to the use of light and the originality of the close-up shot.Contact
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